The role of the translator in British and German productions of Bulgarov's work

直到最近几年，翻译学界才承认戏剧翻译是翻译学的一个分支，有别于文学翻译。虽然这两个翻译领域确实有一些共同的特点，特别是使用创造性的原文(ST)，但戏剧翻译者必须与原文的目的表演性方面接触。他们工作的多模式性质要求对翻译和表演实践都有充分的了解。因此，一种合作的方法使译者能够分享有关戏剧表演的重要语言和文化信息，同时从戏剧从业者那里获得关于戏剧表演实际方面的第一手知识，这可能会使创作过程中的各方受益。在公认的打破“第四”墙的表演惯例的基础上，这项研究将介绍我所建议的“第五”墙的打破。正如第四堵墙指的是演员和观众之间的无形墙一样，这里的第五堵墙指的是演员/导演/制片人/观众和译者之间的无形墙。大多数关于戏剧翻译的研究都集中在单一的目的语语言文化上。我的研究将利用这一差距，通过比较戏剧翻译员在英国和德国分别将米哈伊尔·布尔加科夫戏剧翻译成英语和德语的舞台改编中的角色。这将允许更好地理解英国对俄罗斯戏剧的翻译方法，将他们与另一个有着同样悠久的上演外国戏剧传统的欧洲社会进行比较。这可能有助于进一步的对比分析，从而更全面地了解欧洲和其他地区的戏剧翻译实践。本项目调查译者如何以及在多大程度上参与戏剧制作的创作过程，以及他们在这一过程中的可见度。通过分析一位剧作家的作品，他的作品在斯大林时期被禁止，但在非斯大林化后在西方发现了新的观众，这也将解决在俄罗斯以外鲜为人知的剧作家在外国舞台上知名度有限的问题。从页面到舞台的过程是多模式的。因此，在这一领域的研究应该考虑到这种多态，理论和实践相结合的方法。这项研究试图摆脱戏剧翻译固有的二分法--可表演性和可读性--而是着眼于一种包罗万象的方法，考虑戏剧和表演的各个方面，包括观众的接受和使用音乐/灯光/布景来营造情绪。我的研究将挑战现有关于译者在戏剧中角色的观点。译者是剧作家/剧组和制作团队以及观众之间的中间点，因此他们的重要性怎么强调都不为过。因此，打破第五道墙就是承认译者在作品中的积极作用，并引起人们对他们的作用的关注，不仅是在戏剧方面，而且是作为一种职业，在日益全球化的世界中实现跨文化交流。

It is only in recent years that translation scholarship has recognised theatre translation as a branch of Translation Studies, distinct from literary translation. While these two translation areas do share some characteristics, particularly the use of a creative source text (ST), the theatre translator must engage with the intended performative aspect of texts. The multimodal nature of their work requires complete understanding of both translation and performance practices. Therefore, a collaborative approach which allows the translator to share important linguistic and cultural information regarding the ST, while gaining first-hand knowledge from theatre practitioners on practical aspects of theatre performance, could benefit all parties in the creative process. Expanding upon the accepted performance convention of breaking the "fourth" wall, this study will introduce the breaking of what I propose as the "fifth" wall. Just as the "fourth" wall refers to the invisible wall between actors and audiences, the "fifth" wall here refers to the invisible wall between actors/directors/producers/audiences and translators. Most studies of theatre translation focus on a single target-language lingua-culture. My study would exploit this gap, by comparing the role of the theatre translator in British and German stage adaptations of translations of Mikhail Bulgakov's plays into English and German, respectively. This will allow for a greater understanding of British translation approaches to Russian theatre, by comparing them to another European society with an equally long-established tradition of staging foreign plays. This may allow for further comparative analyses, building a fuller picture of theatre translation practices across Europe and beyond.This project investigates how and to what extent the translator is involved in the creative process oftheatre production, and their level of visibility in this process. By analysing the works of a playwright whose works were banned under Stalin but found new audiences in the West after de-Stalinization, this will also tackle the issue of limited visibility of playwrights who are lesser known outside of Russia, on foreign stages.The process of moving from page to stage is multimodal. Therefore, research in this area should take this multimodality into account, by combining a theoretical and practical approach. This study seeks to move away from the traditional dichotomy which is inherent in theatre translation - performability vs readability - and aim towards an all-inclusive approach, considering all aspects oftheatre and performance, including audience reception and the use of music/lighting/set to create mood.My research will challenge existing views on the translator's role in theatre. The translator is an intermediary point of contact between the playwright/ST and production team, and, thus, the audience, so their significance cannot be overstated. Therefore, to break the "fifth" wall is to acknowledge the active role of the translator in productions and draw attention to their role, not just in theatre, but as a profession which enables intercultural communication, in an increasingly globalised world.